The Ballarat Technical Art School boasted a well-stocked Antique Room replete with plaster copies of classical, Renaissance and Gothic sculptural examples, which were used as drawing props by students. The school inherited some casts from its predecessor institutions, and further consignments were purchased during the 1920s, including full length, bust and relief figures, as well as dozens of ornamental and architectural casts. Unfortunately, much of the collection was lost or destroyed in the late 1950s. This is one of the few surviving pieces, with TAFE students reportedly drawing from it into the twenty-first century. This plaster hand is inscribed “Waschatz, Modeller, Melbourne.” Otto Waschatz was a German plasterer who opened a plaster business in the Melbourne suburb of Richmond, and was responsible for the invention of the first true fibrous plaster - using a layer of hemp laid between plaster to create light and strong panels. By 1912 Waschatz's Lottoid Pty Ltd was a thriving and creative business, and possessed over 5,000 moulds for all kinds of plasterwork. The business closed in 1915, as the result of anti-German sentiment during World War One. Plaster cast of a hand used as a teaching aid at the Ballarat Technical Art School. The Victorian Education Department courses required art students to create studies based on ancient sculptures so copies of famous works were purchased as teaching aids. Among these courses were 'Drawing the Human Figure from Cast' and ‘Drawing from the Antique’. Waschatz, Modeller, Melbourneballarat school of mines, art, arts academy, ballarat technical art school, vikki nash, plaster cast, otto waschatz, lattoid pty ltd, school of mines, plaster copy, drawing from the antique, drawing the human figure from cast

The Ballarat phase of the battalion's history was formed as the Ballarat Volunteer Rifle Regiment on 9 August 1858 as a result of the Crimean War, coupled with the withdrawal of the British Army in 1857. In the years between its formation and the outbreak of War in 1914, the battalion went through a series of name changes as follows: 1854 – Earliest units of the RVR formed ( Melbourne Volunteer Rifle Regt. ) 1858 – Ballarat Volunteer Rifle Regiment (later Rangers) 1884 – 3rd Balarat Ballarat Infantry 1892 – 1st Battalion, 3rd Victorian Regiment 1898 – 3rd battalion, Victoria Infantry Brigade 1901 – 3rd Battalion Infantry Brigade 1908 – 1st Battalion 7th Australian Infantry Regiment 1912 – 70th Battalion (Ballarat Regiment) including Geelong 1912 – 71st Battalion (City of Ballarat Regiment) (From http://www.internationalhistoriansassociation.com/~internat/ihawiki/index.php?title=8th/7th_Battalion,_Royal_Victoria_Regiment)Frank Wright in the uniform of the 71st Infantryfrank wright, 71st infantry, 71st ergiment

Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doilies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. This book has photographs and detailed instructions for a wide range of tatted edgings and insertions suitable for household linens such as towels, doilies and tablecloths as well as patterns for whole mats. Stanley E. Mullen (a businessman) developed Semco Pty Ltd which began as a Melbourne based importation company in 1907. The first three letters of Semco's name were his initials. In 1915 it began manufacturing women's apparel, whitework and transfer patterns. In 1924 the company moved to Black Rock, Victoria and continued to produce an extensive range of needlework patterns and handcraft instruction booklets, threads etc. up until the late 1970's. Semco had a staff that included many young women. It was noted by E.J. Trait (editor of the local newspaper "Standard News") that the firm provided them with good working conditions and the correct rate of pay for women in a time of war - the starting rate for 15 year olds, mainly girls at Semco was 25 shillings per week. During World War 2, Manpower Regulations could be used to coerce workers to move into jobs that supported the war effort, but Trait argued that being employed at Semco could make this unlikely as the firm made some goods essential for the war effort. He even suggested that women be encouraged to produce needlework items (and play a part in the war effort) by sending them as presents, to the troops up north. He also heaped praise on the Semco workplace - noting that no Saturday work was the norm, allowing employees to shop and have "hair-do's" before enjoying a relaxing weekend! Semco also had a female cricket side in the women's Saturday association. After the war the firm stayed in production until the early 1990's when it was taken over by Coates-Paton Pty Ltd. Norma Benporath (1900 - 1998) was an expert in tatting techniques and taught and published extensively on the subject. She was born in New Zealand with impaired sight but cataract surgery restored 50% vision to one eye. She was inspired to learn tatting whilst watching her aunt tat and being told that tatting did not require as much sharp vision as embroidery. She quickly learnt to design her own patterns and published over 1000 tatted lace patterns between 1929 and 1952. She became a regular contributor to magazines (such as Home Beautiful) and newspapers across Australia. Her designs were also published in New Zealand, South Africa as well as the U.K. and U.S.A. When Semco, a thread manufacturer, noticed a rise in the sale of fine crochet threads, they realized they had an untapped market to explore. Norma designed a collection of tatting patterns for Semco that were used to help promote their threads. Norma also worked with Semco to produce a line of threads and shuttles specifically suited to tatting. In 1997, Norma was inducted into the "Order of Australia" for "Service to the craft of tatting as a designer and through the international publication of her patterns".This item is an excellent example of the needle work being enjoyed by women in the 1940's in Australia and the skills of the Australian designer, Norma Benporath. It is also an example of the trend that emerged for craft companies such as Semco to publish pattern books in order to advertise their own materials.A 32 page soft cover instruction book with green front and back covers showing two tatted doily designs. The book includes black and white photographs and written patterns by Norma Benporath.Front cover - "TATTING" "For / EXPERTS/ and / BEGINNERS" "By/Semco" "SEMCO INSTRUCTION BOOK" "No. 16" "WITH ILLUSTRATIONS AND INSTRUCTIONS" "9" Back cover - "FOR INSTRUCTIONS FOR WORKING SEE PAGE 22" "Published by Semco Pty. Ltd." "BLACK ROCK, 29, VIC"flagstaff hill maritime museum and village, warrnambool, great ocean road, tatting, tatting instruction book, tatting patterns, tatting shuttle, semco, semco pty ltd, norma benporath, needlework, handcrafts, household linen, craftwork

Fob (or pocket) watches were developed in Europe in the 16th century and gained wide usage during the mid 18th century until World War 1 when the wristwatch was invented. These watches were designed to be carried in a small pocket and attached through the means of a 'fob' which could be a chain or made from a variety of materials such as leather. Their popularity peaked in the nineteenth century where they were an important part of middle and lower class society as well.This item is of social significance as fob / pocket watches were valued as an essential object in all levels of society in the late 19th century. For some occupations, such as the railroads, it was a necessary tool of the job. Being dated to the early 1900s gives the watch historical significance as possibly being used during the first World War.Pocket watch with possible gunmetal case and brass winder. The white dial has black Roman numerals on the face (note the use of four lines for the number 4 and no markings for the number 6). The face has a circular insert and hand to show the seconds. All hands are gold coloured with the hour hand having a leaf shape. The case has a back cover, which opens to reveal an inner cover, which protects the workings. Both covers are inscribed with the number 877396. The back cover has the words ACIER GARANTI stamped into it, which means steel guaranteed and may refer to the screws used in the workings.Stamped inside the back cover in an oval shape - ACIER GARANTI with N.F. stamped in between the words. The number 877396 is stamped inside the back cover and again inside the middle cover. There is an indecipherable marking near the number inside the back cover and another scratching on the inside of the back cover which may be letters or numbers. The workings are inscribed with the words SWISS MADE and the manufacturer's circular stamp 'MOERIS'. The markings F, S, A and R are on the workings.flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, fob watch, pocket watch, watch, 19th century, horology, time keeper, acier garanti, swiss made, moeris

A Bioscope show was a fairground attraction consisting of a travelling cinema. The heyday of the Bioscope was from the late 1890s until World War I. Bioscope shows were fronted by the largest fairground organs, and these formed the entire public face of the show . A stage was usually in front of the organ, and dancing girls would entertain the crowds between film shows. Films shown in the Bioscope were primitive, and the earliest of these were made by the showmen themselves. Later, films were commercially produced. Bioscope shows were integrated, in Britain at least, into the Variety shows in the huge Music Halls which were built at the end of the nineteenth century. After the Music Hall Strike of 1907 in London, bioscope operators set up a trade union to represent them. There were about seventy operators in London at this point. (http://en.wikipedia.org/wiki/Bioscope_show) The Projector was a rather unreliable piece of apparatus, powered by a variety of light sources, including Calcium Oxide (Lime-Light). A Calcium Carbide Burner, or the rather more superior Carbon Arc. All these methods were highly unpredictable & quite frankly...dangerous! Often resulting in explosions, burning down the entire Show! (which is probably why NO original Shows still exist. Alfred Ball's Bioscope, pictured below, built in 1905 was struck by lightning, shortly after the picture was taken! (http://www.circus-entertainer.co.uk/heritage.htm) In 1909 the first bioscopes pictures were shown at the Ballaarat Mechanics' Institute.Brass and green painted metal film projectorbioscope, vector, entertainment, projector, film, theatre, movie

71st Infantry Band based at the Broadmeadows Camp 1917. Percy Code write a piece of music called the 71st Infantry Quick March. (http://trove.nla.gov.au/work/31795246?selectedversion=NBD11485892) The Ballarat phase of the battalion's history was formed as the Ballarat Volunteer Rifle Regiment on 9 August 1858 as a result of the Crimean War, coupled with the withdrawal of the British Army in 1857. In the years between its formation and the outbreak of War in 1914, the battalion went through a series of name changes as follows: 1854 – Earliest units of the RVR formed ( Melbourne Volunteer Rifle Regt. ) 1858 – Ballarat Volunteer Rifle Regiment (later Rangers) 1884 – 3rd Balarat Ballarat Infantry 1892 – 1st Battalion, 3rd Victorian Regiment 1898 – 3rd battalion, Victoria Infantry Brigade 1901 – 3rd Battalion Infantry Brigade 1908 – 1st Battalion 7th Australian Infantry Regiment 1912 – 70th Battalion (Ballarat Regiment) including Geelong 1912 – 71st Battalion (City of Ballarat Regiment) (From http://www.internationalhistoriansassociation.com/~internat/ihawiki/index.php?title=8th/7th_Battalion,_Royal_Victoria_Regiment).1 Large group photo of members of the band .2 Photograph of part of the band The soldier in the front holding the conductor's batton is Percy Code. The trombone player next to Percy Code is Jack Shackles. 71st Infantry Band (Percy Code Bandmaster) Broadmeadows Camp 191771st infantry band, broadmeadows camp, percy code, code, frank wright, brass band, percy shackles, shackles

This photograph was with a number of others associated with Harry Holmes of Ascot, Victoria. The postcard was written on by Harry Holmes who was a member of the Australian Imperial Force based in Egypt at the time. Nurse Kirkham is Laurie Hemsley Kirkham She was admitted to the Suez Public Hospital (Abbassia) post 06 January 1916. She left Australia with a group of South Australian nurses. Egypt was a major base for the AIF from December 1914. A number of campaigns were fought in this theatre. There were two campaigns involving the AIF. Note that not all the fighting was actually geographically in Egypt. (http://www.aif.adfa.edu.au:8888/about3.html) The Nurse Kirkam mentioned by the writer is probably Sarah Alice Kirkham, Staff Nurse with the Australian Army Nursing Service. Nurse Kirkham was from North Perth, Western Australia. She was posted to the Auxiliary Hospital, Egypt on 09 November 1915 leaving for France on 23 June 1916. Samuel Gordon Spittle (8005) enlisted into the AIF on 17 July 1915, a member of the 18th Australian Army Service Corps (AASC). He left Alexandria on 15 June 1916 disembarking at Marseilles 24 June 1916. Harry Holmes was discharged from a hospital in Egypt on 15 August 1919. He was awarded the Military Medal promulgated on 11 December 1919. (NAA: B2455, Spittle Samuel Gordon) Not only does this photograph portray life in Egypt during World War War, it highlights the role played by members of the Australian Army Nursing Service in both professional and social activities in the theatre of war.Two Australian nurses and a number of Australian soldiers in Hospital Uniform pose for a photograph in Egypt during World War One. Verso: "A little group of Australians at Suez Hospital Joe F[awcett] & I [Gordon Spittle] are standing in the back row with Nurse Kirkham standing between, she is on the short side so stood on a box. Gordon S."chatham family archive, chatham, holmes, world war, world war 1, world war i, world war one, france, gordon spittle, kirkham, suez, egypt, samuel gordon spittle, joe fawcett, laurie kirkham, nurse kirkham, suez hospital, laurie helmsley kirkham, l.a. kirkham, harry holmes, nurses

Harold Brocklebank Herbert (16.09.1891-1945) Harold Herbert was one of the first pupils at the school starting in 1891, commencing as a 15 years old he studied Applied Design and Architecture at the Ballarat Technical School of design attached to the Ballarat Fine Art Galery, transferring to the Ballarat Technical Art school attached to the Ballarat School of Mines. He was a certificated Art Teacher with the Victorian Education Department. His talents were identified by Ballarat’s Ponsonby Carew-Smith who rose to become Art Inspector with the Victorian Education Department. His teaching career included being appointed Principal of the Sale Technical Art School in 1898. Harold Herbert undertook further studies in England returning to Ballarat with all new entrepreneurial ideas. He worked at the Ballarat Technical Art School between 1915-19. Harold Herbert was involved with the design of the Ballarat Arch of Victory, and was responsible for the reproductions in ‘The Education Department’s Record of War Service. Had been principal of the Sale Technical Art School since 1898, and had undertaken further studies in England returning to Ballarat with all sorts of entrepreneurial ideas. In 1924 the Ballarat School of Mines Students’ Magazine reported “We are perfectly safe in claiming on behalf of our school, that no institution of its kind has turned out a greater number of men and women students who have since “made good” while some have achieved enviable prominence in the world of art. Amongst these later, the most brilliant is Harold B. Herbert whose work is so widely and justly appreciated throughout Australia and whose achievements are watched by his old school with the greatest pride. He commenced at the School when he was about 15 years of age, and followed a course of training very similar to what most students are doing the most valuable qualities shown by him during his career as a student were a passion for drawing and a capacity for taking pains, so essential in all artwork. He was appointed as Assistant Art Teacher at Ballarat on completion of his course, and later assistant in the office of Art Inspector. All of his spare time was devoted to out-door sketching and commercial drawing and he showed an ability in practical design for various crafts quite equal to the ability he has since displayed in depictive art. His return to this School as senior master and his departure to devote himself entirely to fine art are quite recent happenings with which all students are familiar. The wonderful exhibition he held in Melbourne on return from a sketching trip abroad has place him amongst the leading artists of Australia. Upon his death in 1945 the Ballarat School of Mines Student's Magazine recorded: "The death of the famous water-colour artist, Harold Herbert, will be a distinct loss to art in Australia. he was educated at the Ballarat Art School which it was situated in Sturt Street, and the gave promise of becoming a famous artist then. his talents were recognised, and in water-colour work he quickly made a name for himself. his landscapes in water-colour are in the principle galleries of the world, and many of them are to be found in the Ballarat gallery and in other provincial galleries. In 1941 he was appointed official war artist for the COmmonwealth, and he served in the Middle East and Syria. Exhibitions of his war pictures have been seen at different times in Melbourne."Portrait of a young man in a suit. He is Harold Brocklehurst Herbert, staffmember of the Ballarat Technical Art School (a division of the Ballarat Technical Art School). The photograph is a detail of the Ballarat School of Mines Magazine Committee, 1919. (http://victoriancollections.net.au/items/54923a682162f116140de59c)harold herbert, harold b. herbert, harold brocklebank herbert, ballarat school of mines, ballarat technical art school, art, arch of victory

Erin's Isle was a paddle steamer built in 1912 by Messrs. A. & J. Inglis Pointhouse, Glasgow, for the Belfast and County Down Railway Company. It provided a regular service between Belfast Lough and Bangor, County Down in the summer season. In November 1915 it was requisitioned by the Admiralty, initially for transport purposes, and later as an auxiliary mine sweeper. Surviving World War One, this vessel as lost on 7 February 1919 after hitting a stray mine at the entrance of the Thames Estuary and immediately sank. There were 23 lives lost, and 28 survivors. Bangor is a city in Gwynedd Unitary Authority, north west Wales, and one of the smallest cities in Britain. This postcard was sent home to Australia by a six bob a day tourist, and member of the Australian AIF on active service. During leave soldiers often visited tourists sites, family, or towns important to their ancestral heritage.A view of paddle steamer with three moored mail steamers are visible to the left, and a pier and lamp on right. A ship can be seen iin distance on right. S.S Erin's Isle off down to Bangorchatham-holmes family collection, bangor, belfast, mail ships, steam ship, six bob a day tourist

Built in 1923-1927, the school is the gift from the children of the state of Victoria, Australia, to the children of Villers-Bretonneux as proof of their love and good-will towards France. Twelve hundred Australian soldiers, fathers and brothers of these children, gave their lives for the heroic recapture of the town on April 24th and 25th, 1918. On the front of the building there are two plaques (one in French and one in English) referring to this. In the School Yard, as well as an Aboriginal style mural created by the students of the school and inaugurated on ANZAC Day 2009, is an inscription over the porch on a green background in yellow writing saying : DO NOT FORGET AUSTRALIA Due to the strong bond of friendship between the Australian population and the inhabitants of Villers-Bretonneux. This message expresses the need to remember and show gratitude. Also situated in the school is the Victoria Hall, with its wooden paneling, co-ordinated by the Ballarat Technical Art School with most of the carving being undertaken by Australian sculptor John Grant of Daylesford Technical College in Victoria. The carvings represent fauna and flora from Australia. (http://www.museeaustralien.com/en/?Victoria_school, accessed 04/02/2014)Photographs of each of the Pilister at Victoria School, Villers Bretonneux. Each pilister is carved with an Australian Animal.villers-bretonneux, ballarat technical art school, victoria school, victoria hall, world war, world war 1, australian animals, possum, cockatoo, kookaburra, platypus, lyrebird, koala

The Morwell War Memorial Morwell War was unveiled on 06 June 1921. The Memorial was originally the level crossing between Commercial Road and Station Street (later Princes Highway). It was later moved to its present position on the Princes Highway opposite Hoyle Street. (http://www.morwellhistoricalsociety.org.au/warmemorial.htm) Names Inscribed on War Memorial – World War 1 *Killed in action * Allis G. Francis J. Pettit H. Amiet C. Graur R. L. Pryor W. * Amiet F. D. Hall J. A. Pryke R. Anderson C. Hall S. D. Rowell F. Billingsley A. H. Hare Bert Rowe C. Butters C. * Handler P. Ronald A. Q Butters R. Hogan E. J. Rintoull W. G. (D.C.M.) Brown H. H. Kleine F. W. Saddler J. Brinsmead F. S. Whitelaw A. Smith C. Collins W. Whitelaw D. Symons H. Collins J. S. F. Keegan F. Thomas L. G. Cooper H. S. Little K. Thomas R. W. Capon W. V. Lock E. * Thomson R. H. Davey R. R. Lyons C. * Tulloch J. Davey E. W. Lyons R. P. Vunell C. R. E. Davey W. R. Miller F. Vinall H. V. Davey C. E. Maher A. Wood A. Duncanson J. Maher L. Wilkins F. Dusting C. * McIntosh A. Warnett J. * Dusting H. Neal A. E. Warnetyt W. H. Derham H. * O’Donnell T. Young J. A. World War 2 – Killed in action Allen H. A. Eason L. W. McDonald D. Angus C. P. Evans H. T. Muncaster J. Bolitho H. Ferguson R. W. Murray A. M. Bolton C. R. A. Gair N. Peter T. Bowden N. J. Green D. I. A. Read L. H. M. Brudge W. G. Hewat G, A, Roy E. W. Catterick J. H. Horsefall L. Sillcock R. R. Deanne A. Johnson F. Stagg J. L. Deering C. J. King L. S. Templer R. C. Doolan W. T. Lawrence F. E. Tienery R. Dickson L. H. McArthur D. Turner R. H. Williams R. K. Vietnam War – Killed in action Adrian RichColour photograph of a life sized Australian soldier wearing a slouch hat, on top of a large raised platform. A commemorative plaque is depicted in the foreground. The front inscription of the memorial reads: "This plaque was erected in memory of those who paid the Supreme Sacrifice in the Boer War [Names] Erected by the residents of Morwell riding as a tribute to the men resident in the riding who enlisted and in memory of those who made the Supreme Sacrifice in the Great War 1914-19 [Names] This plaque is erected in memory of those who paid the Supreme Sacrifice in World War II and Korea [Names] In affectionate remembrance of A. Rich R.A.R killed in action Vietnam 1962-72"The plaque in the foreground reads" "Centenary Commemoration Plaque This plaque commemorates 100 years since the first World War commended in 1914 and Australian and New Zealand (ANZAC) troops landed at Gallipoli on 25th April, 1915. Members of the Morwell RSL Sub-Branch will always remember the sacrifices made by service personal to give us the freedom we enjoy the this day. They Shall grow not old, as we that are left grow old Age shall not weary them, nor the years condemn At the going down of the sun and in the morning We will remember them Lest We Forget."morwell, morwell war memorial, world war one, anzac centenary, gippsland

In recognition of its fallen soldiers and Churchill's 50th birthday a service memorial was erected on a concrete plinth at the Churchill town plaza and used for the first time to mark the ANZAC centenary on Anzac Day 2015. Churchill never had a war memorial and received a grant from the Department of Veterans' Affairs six years ago to commission a sculpture with Latrobe City Council's support. It was decided the sculpture needed to recognise more than just the war effort, but service and volunteerism, considering Churchill was only founded in 1965. (http://www.latrobevalleyexpress.com.au/story/2816903/churchills-new-memorial/, accessed 01 may 2015) Sculptor Paul Jesse discussed the work in Churchill and District Community news, 18 December 2014: Some time ago CDCA commissioned a sculpture to be used as a Service Memorial to commemorate the fallen that have died in service of our community and country. Traditional memorials usually commemorate Armed Services personnel, but CDCA was of the opinion that a more inclusive view which included Emergency Services personnel, such as CFA, SES and Police, could be incorporated into the Churchill Memorial. Boolarra artist, Paul Jesse, who is accomplished in Ferro-Cement sculpture techniques, was commissioned to create a memorial that would cause people to reflect on the meaning of ‘service’ and ‘sacrifice’. The following is a description of the Churchill Service Memorial Sculpture written by the sculptor, Paul Jesse. “My sculpture is different from most War Memorial sculptures because it uses as its basis the reasons why people go into service or to war. One side of the sculpture is colourful and optimistic; its theme is home, family, community and the future. These themes are crafted by flow lines which are connected to the other side of the sculpture through the round hole and the Crosspiece. These lines can be seen as a multi-layered connection between the sides. On the “dark” side of the sculpture, the lines begin with a spiral of coloured mosaics. This spiral is representative of our service people. Its beginning can be seen on one level as their soul. The spiralling mosaics of them flow to the other side of the sculpture where they create the landscape and figures. These lines can also be seen as a range of connectors between the two sides, representing a flow of thoughts, love, fear, concern and dreams. They also represent physical communication such as letters and phone calls.” This ‘Service Memorial’ is located in the Churchill Plaza (adjacent to the Town Hall), along with four flagpoles, seating and garden beds. The Churchill Service Memorial has deliberately been designed as a thought-provoking public art work. It will complement the Art and Culture Pathway which links Switchback Gallery at the Federation University Campus to the Town Centre. We hope Churchill citizens will pause to view the Memorial, ponder its meaning, reflect on the service of others and commemorate the fallen. Colour photograph on an abstract Australia-shaped sculpture by Boolarra artist Paul Jesse. The abstract Australia-shaped sculpture is in stark contrast to the bronze-cast "fallen mate" or concrete cenotaph seen in many country towns. The photograph includes wreaths from the ANZAC centenary service on ANZAC Day 2015. churchill, churchill war memorial, paul jessie, anzac centenary, federation university, gippsland, art and culture pathway, world war

This drawing of the screw steamer SS Edina depicts the vessel in the period of service in Australia from the 1870's onward until the time when she was cut down to use as a 'lighter' to carry cargo in 1938. The artist is unknown. ABOUT THE S S EDINA The three masted iron screw steamer SS Edina was built in Glasgow, Scotland, in 1854 by Barclay and Curle. She was adorned with the figurehead of ‘fair maid of Judea’. The many years of service made SS Edina famous world-wide as the longest serving screw steamer. (The term screw steamer comes from being driven by a single propeller, sometimes called a screw, driven by a steam engine.) SS Edina’s interesting history includes English Chanel runs, serving in the Crimean Ware carrying ammunition, horses and stores to the Black Sea, and further service in the American Civil War and later, serving in the western district of Victoria as well as in Queensland and carried gold, currency and gold prospectors Australia to New Zealand. SS Edina had the privilege of being an escort vessel to H.R.H. the Duke of Edinburgh during his visit to Australia in 1867. In March 1863 SS Edina arrived in Port Phillip Bay, Melbourne and was bought by Stephen Henty, of Portland fame, to work the cargo and passenger run from Melbourne – Warrnambool – Port Fairy - Portland. After a short time of working the run from Australia to New Zealand, with passengers and cargo that included gold and currency, she returned to her Melbourne - Warrnambool – Port Fairy run, with cargo including bales of wool produced in the western district of Victoria. The Warrnambool Steam Packet Company purchased SS Edina in 1867; she was now commanded by Captain John Thompson and Chief Engineer John Davies. She survived several mishaps at sea, had a complete service and overhaul and several changes of commanders. In 1870 SS Edina was in Lady Bay, Warrnambool, when a gale sprung up and caused a collision with the iron screw steamer SS Dandenong. SS Edina’s figurehead was broken into pieces and it was not ever replaced. SS Edina was re-fitted in 1870 then was used as a coastal trader in Queensland for a period. She was then brought to Melbourne to carry cargo and passengers between Melbourne and Geelong and performed this service 1880-1938. During this time (1917) she was again refitted with a new mast, funnel, bridge and promenade deck, altering her appearance. In 1938, after more collisions, SS Edina was taken out of service. However she was later renamed Dinah and used as a ‘lighter’ (a vessel without engine or superstructure) to be towed and carry wool and general cargo between Melbourne and Geelong. In 1957, after 104 years, the SS Edina was broken up at Footscray, Melbourne. Remains of SS Edina’s hull can be found in the Maribyrnong River, Port Phillip Bay. This drawing of the SS Edina is significant for its association with the screw steamer SS Edina. The SS Edina is heritage listed on the Victorian Heritage Database VHR S199. She had endeared herself to the people of Port Phillip Bay as a passenger ferry, part of their history and culture. She played a significant role in the Crimean War, the American Civil War and the gold rush in New Zealand. She also served western Victoria for many years in her cargo and passenger runs. The SS Edina is famous for being the longest serving screw steamer in the world. After spending her first nine years overseas she arrived in Melbourne and her work included running the essential service of transporting cargo and passengers between Melbourne and the western Victoria ports of Warrnambool, Port Fairy and Portland. The SS Edina was purchased in the late 1860’s by local Warrnambool business, the Warrnambool Steam Packet Co. and continued trading from there as part of the local business community. The SS Edina’s original ‘fair maid of Judea’ figurehead was broken to pieces in a collision with another vessel (the SS Dandenong) in a gale off Warrnambool, Victoria, in 1870.Drawing in pen and ink, of screw steamer vessel SS Edina, framed in decorative timber and glass. View of bow of SS Edina with vessel's name on bow. SS Edina is in dry dock, background shows a power pole and roof. Ship configuration in the drawing was 1870's - 1938. Drawing dated c. 1890's.Drawn on bow "EDINA"warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, shipwrecked artefact, barclay & curle, figurehead 'fair maid of judea', centenary maritime exhibition 1934, a brief review of steam navigation in victoria, pleasure steamer edina, trade and travel late 19th and early 20th century, trade melbourne to geelong, screw steamer edina, coastal trader edina, lighter dinah, cargo carrying for cremean war, cargo carrying for american civil war, passenger and trade in western district of victoria, export gold and currency and gold diggers to new zealand, export vessel to h r h the duke of edinburgh, melbourne - warrnambool - port fairy - portland cargo run, warrnambool steam packet company, stephen henty, captain john thompson, chief engineer john davies, lady bay warrnambool, lighter edina, shipping victoria, port phillip bay steamers, steamship great britain, edina, vhr s199 victorian heritage database, drawing of ss edina, pen and ink drawing of ss edina, pen and ink drawing 1870's - 1938, maritime drawing of screw steamer

The Stanley Works was founded by Frederick Trent Stanley in 1843, originally a bolt and door hardware manufacturing company located in New Britain, Connecticut, USA. The Stanley Rule and Level Company was founded in 1857 by Henry Stanley in New Britain, Connecticut. In 1920, this company was independent from Trent Stanley's works but they merged with the separate but related Stanley Works, that was founded by Henry Stanley's cousin Frederick Trent Stanley, and continued operating as its hand tools division. At this time after the merger the “Sweetheart” Trademark was adopted for tools made between 1922 to 1935 with augers manufactured during this time having the “AA” trademark and this is when the Stanley company we know today came into being. Around 1937, Stanley acquired the British J. A. Chapman company, a British manufacturer of carpentry tools and other items (including bayonets during World War I) formerly located in Sheffield, from Norman Neill. This helped Stanley to enter the British market.A early tool manufactured by an emerging company that today produces tools for sale in just about every country in the world. The subject items trademark shows the item was produced between 1922-1935 at a time when the company had just merged and was transitioning into Stanley Tools Ltd.Nose bit auger. Similar to shell bit except the nose turned inwards to form a cutting lip. Stamped on shank "AA" trade mark (Stanley Tools)flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

This life jacket was issued by the Australian Government's General Naval Store in N.S.W.. It was inspected in 1940. Life Jackets - Life jackets were part of the equipment carried by the Life Saving Rescue Crew of South Western Victoria, including Warrnambool, from around 1858 until the 1950s. The purpose of a life jacket is to keep the wearer afloat until he or she is rescued from the water. Life jackets were first invented in 1854 by Captain Ward of the Royal National Lifeboat Institution in Britain. The early life jackets were filled with cork, which is very buoyant. However, many times he cork caused the jacket to rise up quickly with a force that caused unconsciousness, sometimes turning the person face down in the water , causing them to drown. After the tragic loss of the ship RMS Titanic in 1912 and the lost lives of those onboard, a woman named Orpheus Newman designed the Salvus life jacket (Salvus means safe), which was filled with kapok instead of cork. Kapok comes from seed pods of the Ceiba Pentandra tree and is waterproof as well as buoyant. These Salvus jackets were used by the Royal Navy until new synthetic materials became available around the time of World War II.This life jacket is significant for its connection with local history, maritime history and marine technology. Lifesaving has been an important part of the services performed from Warrnambool's very early days, supported by State and Local Government, and based on the methods and experience of Great Britain. Hundreds of shipwrecks along the coast are evidence of the rough weather and rugged coastline. Ordinary citizens, the Harbour employees, and the volunteer boat and rescue crew, saved lives in adverse circumstances. Some were recognised as heroes, others went unrecognised. In Lady Bay, Warrnambool, there were around 16 known shipwrecks between 1850 and 1905. Many lives were saved but tragically, eight lives were lost.Life jacket, canvas covered, with two padded compartments filled with kapok. Designed to slip over the head. it has shoulder straps and straps for tying under the arms. An inscription and symbol is stamped on one shoulder strap. The life jacket was supplied by the General Naval Store, Defence Department, N.S.W., and inspected in in 1940.Inscription "G.N.S. [crown symbol] N.S.W / 12 JUN 1940 / INSPECTED".flagstaff hill maritime museum and village, flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, lady bay, warrnambool harbour, g.n.s., general naval store, 1940s life jacket, captain ward, royal national lifeboat instution, cork, kapok, life jacket, orpheus newman, salvus jacket, life saving, rescue, rescue crew, l.s.r.c., life saving equipment, marine technology, lifeboat, shipwreck victim, vintage

This eight compartment life jacket date from around 1918 to 1940s, when kapok was used as the main filling for life jackets. Cork was used before that time, and synthetic materials began to be used from the mid-1940s. Life Jackets - Life jackets were part of the equipment carried by the Life Saving Rescue Crew of South Western Victoria, including Warrnambool, from around 1858 until the 1950s. The purpose of a life jacket is to keep the wearer afloat until he or she is rescued from the water. Life jackets were first invented in 1854 by Captain Ward of the Royal National Lifeboat Institution in Britain. The early life jackets were filled with cork, which is very buoyant. However, many times he cork caused the jacket to rise up quickly with a force that caused unconsciousness, sometimes turning the person face down in the water , causing them to drown. After the tragic loss of the ship RMS Titanic in 1912 and the lost lives of those onboard, a woman named Orpheus Newman designed the Salvus life jacket (Salvus means safe), which was filled with kapok instead of cork. Kapok comes from seed pods of the Ceiba Pentandra tree and is waterproof as well as buoyant. These Salvus jackets were used by the Royal Navy until new synthetic materials became available around the time of World War II.This life jacket is significant for its connection with local history, maritime history and marine technology. Lifesaving has been an important part of the services performed from Warrnambool's very early days, supported by State and Local Government, and based on the methods and experience of Great Britain. Hundreds of shipwrecks along the coast are evidence of the rough weather and rugged coastline. Ordinary citizens, the Harbour employees, and the volunteer boat and rescue crew, saved lives in adverse circumstances. Some were recognised as heroes, others went unrecognised. In Lady Bay, Warrnambool, there were around 16 known shipwrecks between 1850 and 1905. Many lives were saved but tragically, eight lives were lost.Life jacket, canvas covered, stitched into eight kapok filled compartments. One canvas strap with brass buckle is attached. Shoulder straps are no longer attached. Rflagstaff hill maritime museum and village, flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, lady bay, warrnambool harbour, kapok, life jacket, salvus jacket, life saving, rescue, rescue crew, l.s.r.c., life saving equipment, marine technology, lifeboat, shipwreck victim, vintage, captain ward, royal national lifeboat institution, orpheus newman

This standard design life jacket was made by sailmakers Harry West Pty Ltd at Balmain, Sydney, New South Wales from 1930s to 1950s. Harry West - Harry was a chandler, sailmaker and rigger. He made and sold all kinds of canvas and rope goods including sails, awnings and covers. In 1925 he was advertising life buoys but by 1933 he was advertising life jackets. He and his wife Margery had six children. His business was still operating in 1954, when an article on the craft of sailmaking appeared in the Sydney Morning Herald. His sailmaker's loft was located, traditionally, close to Sydney's harbour. Life Jackets - Life jackets were part of the equipment carried by the Life Saving Rescue Crew of South Western Victoria, including Warrnambool, from around 1858 until the 1950s. The purpose of a life jacket is to keep the wearer afloat until he or she is rescued from the water. Life jackets were first invented in 1854 by Captain Ward of the Royal National Lifeboat Institution in Britain. The early life jackets were filled with cork, which is very buoyant. However, many times he cork caused the jacket to rise up quickly with a force that caused unconsciousness, sometimes turning the person face down in the water , causing them to drown. After the tragic loss of the ship RMS Titanic in 1912 and the lost lives of those onboard, a woman named Orpheus Newman designed the Salvus life jacket (Salvus means safe), which was filled with kapok instead of cork. Kapok comes from seed pods of the Ceiba Pentandra tree and is waterproof as well as buoyant. These Salvus jackets were used by the Royal Navy until new synthetic materials became available around the time of World War II.This life jacket is significant for its connection with local history, maritime history and marine technology. Lifesaving has been an important part of the services performed from Warrnambool's very early days, supported by State and Local Government, and based on the methods and experience of Great Britain. Hundreds of shipwrecks along the coast are evidence of the rough weather and rugged coastline. Ordinary citizens, the Harbour employees, and the volunteer boat and rescue crew, saved lives in adverse circumstances. Some were recognised as heroes, others went unrecognised. In Lady Bay, Warrnambool, there were around 16 known shipwrecks between 1850 and 1905. Many lives were saved but tragically, eight lives were lost.Life jacket, canvas covered, with two kapok padded compartments joined by shoulder straps and waist ties. Designed to slip over the head and tie at the waist. Inscriptions on pouches, some stencilled, some hand written, and inspection text on shoulder strap. Made by Harry West Pty Ltd., Sailmakers, Balmain, Sydney.Stencilled on pockets: “- - - NDARD / LIFE JACKET” [STANDARD LIFE JACKET], “HARRY WEST PTY LTD / SAILMAKERS / BALMAIN, SYDNEY” Stamped on shoulder strap: "XM3271RC" Hand painted on pocket: “DAVIES”flagstaff hill maritime museum and village, flagstaff hill, maritime museum, maritime village, warrnambool, lady bay, warrnambool harbour, captain ward, royal national lifeboat instution, kapok, life jacket, orpheus newman, salvus jacket, life saving, rescue, rescue crew, l.s.r.c., life saving equipment, marine technology, lifeboat, shipwreck victim, vintage, harry west, balmain, sydney, davies, standard life jacket, survivor, shipwreck, sailmakers, harry west pty ltd

This three-dimensional Distant Signal is part of a Flagstaff Signal set of ball, cone and drum shapes. It has been woven and then fabricated with strong metal swivel fittings and loops for suspending from a high point on a flagstaff at a signal station or on a ship’s masthead. The cane signal was constructed to withstand all weather and to be visible from a long distance. The gaps between the woven cane allow air to pass through, minimising possible swaying. Similar sets were made from rope or fabric. Warrnambool's Flagstaff was erected in 1854. Its primary use was to display visual signals that could convey messages between land and sea. It was also used to notify the local population of the approach of ships. One of the popular signalling codes in use in the early-to-mid 1800s was the Marryat’s Code but there were others in use as well; there was no one standard code. In 1857 the International Marine Conference adopted an International Code of Signals as a standard communications system for all vessels that could be understood in many different languages. The Normanby Advertiser reported on June 5th 1857 a query from the Post Master General as to whether the request of the Chief Harbour Master would be carried out, in that Warrnambool would receive a new flagstaff and a set of Marryatt’s signal flags. The Table of Codes was published, showing how to use combinations of these flags to send messages. The Code was revised in 1887 to cover situations where distance, light, wind and weather conditions affected the visibility of the flags and prevented clear communication. The first report of the International Code of Signals Committee of 1897 warned signalmen not to rely on ordinary semaphore flags and introduced a Distant Signal Code using either particular semaphore flags or the three-dimensional shapes of a ball, cone and drum that aligned with the semaphore flag shapes of a circle, pennant and square. International Code of Signals In 1931, after World War I’s experiences in using signal codes, the International Code of Signals conference in Washington revised and published the rules for the conduct of signalling. One of the changes was that “the use of the Distant Signals and of fixed semaphore was abandoned”. It is of interest to know that modern marine law in many countries insists that a set of Day Shapes must be carried onboard vessels of a certain size. These highly visible geometric shapes are used at sea in daylight to communicate messages between vessels. They are used in a similar way to the Distant Signals, in that different combinations of shapes represent different messages. The set of shapes includes a ball, cylinder, cone and diamond. The shapes are hung between the top of the vessel’s foremast and the front of the vessel. They are only coloured black and are about 1.5 metres high. The vertical line of shapes can mean messages such as Boat not under command, Fishing, and Under sail and power.Distant Signals were an important means of marine communication from the late 1880s to the early 1930s, including during World War I. They were an advancement to the International Shipping Codes and safety. The cane signals’ shapes appear to be the same from whatever direction they are viewed, removing confusion about the message they convey. The same shapes continue to be used today for the sets of Day Shapes used as marine navigational signals that are mandatory on certain-sized vessels.Distant Signal Ball, part of a Flagstaff signal set. A round woven cane ball, painted black, with a metal rod passing through the centre. The rod has a loop at each end, then a concave, octagonal metal plate that rests on the outside surface of the ball, serving as a washer. The rod has swivels at each end.distant signal, flagstaff signal, signal station, masthead signal, communications, marine technology, signals, marine signals, flaghoists, international marine conference, international code of signals, signal codes, marine safety, signal flags, day shape, daymark, day symbol, navigation, warrnambool flagstaff, 1854, 1857 1931, 1887, 1897

Negretti and Zambra 1850-1980s were optical instrument makers and mathematical instrument makers based in London, England. The firm of Negretti and Zambra was established in 1850 by Henry Negretti and Joseph Zambra who had formed a partnership. Their skill was immediately apparent when exhibiting at the 1851 Great Exhibition at Hyde Park, they were the only English instrument makers to receive a prize medal for meteorological instruments, resulting in their appointment as instrument makers to the queen, Greenwich observatory, and the British Meteorological Society. In 1853, when the Crystal Palace was re-erected in Sydenham, Negretti and Zambra became the official photographers of the Crystal Palace Company, which allowed them to photograph the interior and grounds of the new building. The firm made use of this access to produce a number of stereographs. Between 1855 and 1857 Negretti and Zambra commissioned photographer Pierre Rossier to travel to China to document the Second Opium War. Although Rossier subsequently was unable to accompany to Anglo-French forces in that campaign, he nevertheless produced a number of stereographs and other photographs of China, Japan, the Philippines and Siam (now Thailand), which Negretti and Zambra published and that represented the first commercial photographs of those countries. In 1856 Negretti and Zambra sponsored a photographic expedition to Egypt, Nubia and Ethiopia conducted by Francis Firth. In 1864 Negretti and Zambra (themselves) photographed Shakespeare's House at Stratford on Avon. A sepia photograph was then pasted onto card 4" × 2.5". This was then presented to visitors to the Crystal Palace to enable them to compare it with the model erected by Mr E. T. Parr in the Centre Transept. The card itself is headed "Crystal Palace April 23rd 1864." That year they also published a book, titled A Treatise on Meteorological Instruments, (which was reprinted in 1995). Throughout World War One Negretti and Zambra were entirely engaged in the production of various instruments for the Ministry of Munitions. They developed many instruments for the Air Ministry including a mercury-in-steel distance thermometer for taking the oil and air temperatures in aircraft which was patented in 1920. In 1946 the company went private and in 1948 the company was made public, and by 1950 Negretti and Zambra had 821 employees in Britain. In order to increase production and to safeguard future development in 1964, they purchased a modern factory at Aylesbury for all their production. In 1981 Negretti and Zambra were taken over by a group of financial institutions in the form of Western Scientific Instruments and in 1985 the company was acquired by Meggitt Holdings.The subject compass is just one type of the many marine and scientific, optical items this company produced over it’s life time. Negretti and Zambra were prolific manufactures of types of items as well as being very prominent in photography pioneering new innervation's and sponsoring expeditions to little known countries to document peoples daily lives and culture through photography.Azimuth compass on tripod in a fitted wooden box with a round spirit level included, lid of box has three indented circles where the legs of the compass fit when it is set up for use. Stamped "C.M.O. 9" on with Maker Negretti & Zambra London.flagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, azimuth compass, nautical instrument, negretti & zambra london, navigational instrument, compass

A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden objects. Traditionally, moulding planes were blocks of wear-resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other workers to pull the plane ahead of the master who guided it. John Moseley & Son: Records indicate that before 1834, the firm is listed at number 16 New Street, London and according to an 1862 advertisement the shop had been established in New Street since 1730, The Sun insurance records from the time show that John Moseley was the possessor of a horse mill in the yard of his premises, which means that some kind of manufacturing was taking place, as the mill would have provided power to run a saw or perhaps a grinding wheel so the probability is that he did not just sell tools, he made them as well. John Moseley died in 1828 and his will he names his four sons: John, Thomas, William and Richard. To complicate matters he also had brothers with the same first names; brothers Richard (of Piccadilly) and William (of Peckham Rye) are named as two of the executors. Brother Thomas is not mentioned in this will, but became a minister and was one of the executors of brother Richard’s estate when he died in 1856. From John’s will, we also learn that, although the shop was in New Street, he resided in Lympstone, Devon. The family must have had a house in that county for quite some time as both sons Richard and William are baptised in Devon, although John and Thomas were baptised in London. In the 1841 and 1851 census records, we just find William in New Street, but in 1861 both William and Richard are listed there as toolmakers. That Richard was staying overnight at New Street was probably just accidental as in 1851 and 1871, we find him with his wife Jane and children in Clapham and Lambeth respectively. In 1851 Richard is listed as “assistant clerk cutlery warehouse” and in 1871 as “retired plane maker and cutler”. Although the actual place of work is not stated, one may assume he worked in the family business. 1862 is a year full of changes for the firm. In that year, William had a new property built at 27 Bedford Street. In the catalogue for the 1862 International Exhibition, 54 Broad Street (later 54-55 Broad Street) is listed for the first time, which may very well coincide with the split of the business into a retail and a wholesale branch. Around the same time, they must have moved from New Street to 17 & 18 King Street because their manufacturing premises had been pulled down to form the New Street from Cranbourne Street to King Street. In January 1865, William died and Richard continued the business. In 1867, the partnership he had with his son Walker and Thomas Elis Hooker, is dissolved. Richard continued tool making at King Street and Bedford Street. Richard retired somewhere between 1867 and 1871, but the business continued. The business is taken over by W M Marples & Sons and tools continued to be made in London until 1904 when manufacturing relocated to Sheffield. A vintage tool made by a well documented company, this item was made commercially for firms and individuals that worked in wood and needed a tool that could produce a ornamental finish to timber. The tool was used before routers and spindle moulders came into use after World War ll, a time when to produce a decorative moulding for a piece of furniture, door trims etc or other items had to be accomplished using hand tools and in particular one of these types of planes. These profiled planes came in various shapes and sizes to achieve a decorative finish. A significant tool from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Tools that were themselves hand made shows the craftsmanship used during this time not only to make a tool such as the subject item but also the craftsmanship needed to produce a decorative finish that was needed to be made for any timber item. Moulding Plane . J Moseley. maker and R Knight & J Heath also stamped stamped (Owners)flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plane moulding, moulding plane, plane, j heath, moseley

A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden object. Traditionally, moulding planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade, or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it. All we known about J Budd is that he was a tool maker and retailer that operated a business in London between 1832 to 1864. There are many of his tools including decorative moulding planes of all sizes and designs for sale around the world and that his tools in particular moulding planes are well sought after by collectors of vintage tools. A vintage tool made by a known maker, this item was made commercially for firms and individuals that worked in wood and needed a tool that could produce a ornamental finish to timber. The tool was used before routers and spindle moulders came into use after World War ll, a time when to produce a decorative moulding for a piece of furniture, door trims etc or other items had to be accomplished using hand tools and in particular one of these types of planes. These profiled planes came in various shapes and sizes to achieve a decorative finish. A significant tool from the early to mid 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Tools that were themselves hand made shows the craftsmanship used during this time not only to make a tool such as the subject item but also the craftsmanship needed to produce a decorative finish that was needed to be made for any timber item. Moulding Plane J Budd London & No 4 opposite end flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plane moulding, j budd

A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden object. Traditionally, moulding planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade, or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it. All we known about J Budd is that he was a tool maker and retailer that operated a business in London between 1832 to 1864. There are many of his tools including decorative moulding planes of all sizes and designs for sale around the world and that his tools in particular moulding planes are well sought after by collectors of vintage tools. A vintage tool made by a known maker, this item was made commercially for firms and individuals that worked in wood and needed a tool that could produce a ornamental finish to timber. The tool was used before routers and spindle moulders came into use after World War ll, a time when to produce a decorative moulding for a piece of furniture, door trims etc or other items had to be accomplished using hand tools and in particular one of these types of planes. These profiled planes came in various shapes and sizes to achieve a decorative finish. A significant tool from the early to mid 18th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Tools that were themselves hand made shows the craftsmanship used during this time not only to make a tool such as the subject item but also the craftsmanship needed to produce a decorative finish that was needed to be made for any timber item.Plane Moulding type maker J Budd London also stamped J Heath (owner) & No 2 opposite endflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plane moulding, plane, j heath

This photograph is of the sailing ship ANTARES at full sail, taken between 1907, when she was named ANTARES, and 1914, when she was wrecked.. THE ANTARES In mid-November 1914, after the beginning of the First World War, a young local man went one evening to fish near the Bay of Islands, west of Peterborough. He later arrived home hurriedly and in an agitated state declaring: "The Germans are coming!" His family laughed and disbelieved him, as this young fellow was prone to telling fictional tales. About a month later, on December 13th 1914, local farmers Phillip Le Couteur and Peter Mathieson were riding in the vicinity, checking on cattle. Phillip Le Couteur saw what he “thought was the hull of a ship below the cliffs.” He rode to Allansford and contacted police. The next day, two Constables and Phillip Le Couteur returned to the site, where they dug a trench near the top of the cliff and sank a log in it. To this they attached a rope, which they threw down the cliff face. Constable Stainsbury and Phillip Le Couteur then made the dangerous descent down the rope on the sheer cliff face. They found wreckage strewn around a small cove and a portion of a man's body under the cliffs. The hull of the ship could be seen about 300 metres out to sea. Some of the wreckage revealed the name Antares and the remains of the ship's dinghy bore the name Sutlej. During the next two weeks and with the help of the Warrnambool lifeboat and crew, two more bodies were found. Later investigations proved that the tragic wreck was indeed that of the Antares, reported overdue on the 207th day of her voyage from Marseilles, France, to Melbourne. She was a three masted, 1749 ton iron clipper, built in Glasgow in 1888 and originally named and launched as the Sutlej. Bought in 1907 by Semider Bros. from Genoa, Italy, she was refitted and renamed Antares. It was later realised that the local lad who a month earlier had declared he had seen German guns being fired, had probably seen distress flares fired from the deck of the Antares the night she was wrecked. She was last sailed under Captain Gazedo and wrecked at what is now known as Antares Rock, near the Bay of Islands. She had been carrying a large cargo of roofing tiles from France to Melbourne, consigned to Mullaly & Byrne. Many of them are now to be seen amongst the battered and scattered remains of the wreck. Some of the timbers were found to be blackened by fire. An Information Board has been erected on the cliff top near to the site of the Antares wreck, at the end of Radfords Rd, west of Peterborough. (Ref: Flagstaff Hill Maritime Village’s “Antares” fact sheet, Victorian Heritage Database, Information Board at Peterborough, Flagstaff Hill Significance Assessment 2010) The Antares was one of the last of the 'tall ships' to be lost along the south west coast of Victoria, and is the only wreck that took the lives of all people on board. She is listed on the Victorian Heritage Register VHS S34. The Antares is significant as a sail trader carrying an international inbound cargo. It is part of the Great Ocean Road Historic Shipwreck Trail. Photograph of the three masted fully rigged Antares at anchor. (ref: Ships A-B SH016.)flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, antares, tall ship, peterborough, 1914 shipwreck, phillip le couteur, peter mathieson, constable stainsbury, sutlej, antares rock., bay of islands

Ladysmith is a city in the Uthukela District of KwaZulu-Natal, South Africa. In 1847 after buying the land from the Zulu King Mpande, a number of Boers settled in the area and called it the Republic of Klip River. The Republic was annexed by the British in the same year and on 20 June 1850 it was proclaimed a township called Windsor. In October 1850 the name changed to Ladysmith after Juana Maria de los Delores de Leon Smith, also known was "Lady Smith", the Spanish wife of Sir Harry Smith, the Governor of the Cape Colony. He was also High Commissioner in South Africa from 1847 to 1852. A for was built in 1860 to protect the villagers from the Zulu. During the Second Boer War British commander Lieutenant General Sir George White made Ladysmith his centre of operations for the protection of Natal against the Boer forces. A number of short lived battles were fought for the control of the town. After suffering many casualties the British retreated to Ladysmith. While the British regrouped in the town, Boer forces surrounded Ladysmith. The siege lasted 118 days during one of the most crucial stage of the war. Three attempts by General Sir Redvers Buller to break the siege resulted in defeat for the British forces at the Battles of Colenso, Spion Kop and Vaal Krantz. The Boer forces attempted to break the siege. This led to the Battle of Platrand, or Wagon Hill, south the town. Buller finally broke the siege in February 1900 after defeating the Boers. Sir Winston Churchill, a young war correspondent was present at the Relief of Ladysmith after having been taken prisoner - between Ladysmith and Colenso - and escaping earlier during the war.Individual image from photographed poster of tobacco and cigarette cards.ladysmith, south africa, zulu, boers, republic of klip river, windsor, lady smith, sir harry smith, governor, cape colony, high commissioner, sir george white, natal, siege of ladysmith, sir redvers buller, battle of colenso, battle of platrand, sir winston churchill, wagon hill

The Senior Technical Schools Athletics Association ‘Herald Shield’ is one of many timber and metal repoussé commissions undertaken by students and staff at the Ballarat Technical Art School. The School was known for the quality of its art metal work which was applied to product, interior and commemorative designs. Between 1915 and 1936 Wilfred Kenneth (c1883-1957) taught boys and girls at preparatory and senior levels, including the ‘Art Metal Work and Repoussé’ industrial design specialisation. During World War I, Kenneth oversaw the training of repatriated soldiers which catalysed into a new, a successful art metal business, the Decorative Metal Craft Company in Chancery Lane, Ballarat. The shield was given by the proprietors of The Herald.Timber and metal repousse shield listing winning teams from 1918-1940. 1918 - Ballarat 1919 - Ballarat 1920 - Working Men's College Melbourne (now RMIT) 1921 - No contest 1922 - Swinburne 1923 - Ballarat 1924 - Ballarat 1925 - Ballarat 1926 - Ballarat 1927 - Geelong 1928 - Maryborough 1929 - Bendigo 1930 - Bendigo 1931 - Working Man's College 1932 - Wonthaggi 1933 - M.T.C. 1934 - Ballarat 1935 - Ballarat 1936 - Ballarat 1937 - No Contest 1938 - Ballarat 1939 - Ballarat 1940 - Geelong Above list engraved into metalherald shield, athletics, working mans college, rmit, ballarat school of mines, trophy, commission, art metal, repousse, ballarat technical art school, wilfred kenneth

Associated with BDR. Joseph Moore grouped framed certificatesPhotocopy of original dispatch notice for Military Medal to No 1272 BDR J. Moore, 13th F.A.B.No 1272, BDR. J. Moore, 13th F.A.B./ On 24th April, 1918 whilst the 51st Battery was/ in acrion N.E. of Cordie it was subjected to a very heavy hostile/ bombardment of H.E. and gas shells. This N.C.O.'s duries as a/ specialist required the maintenance of communications between the/ Battery an C.P. The line was frequently cut and required several/ trips, all of which took some considerable time. The whole area/ was very heavily shelled as was the vicinity of the C.P. and this/ N.C.O.'s tasks were performed under heavy shell fire ar great/ personel risk. Throughout the periods Bdr. Moore displayed great/ coolness and total disregard of personal danger thus setting a/ splendid examplemedal, 1918, military, moore, joseph, world, war, 1, corbie, 51st, battery, 4th, district

non-fictionThis book brings to life for many Australians, the close connection between Australia and East Timor. In 1941-42, Archie Campbell was a lieutenant in the 'Sparrow Force' the 300 men of the 2/2nd Independent Company in a 14-month campaign of ambushes and hit-and-run tactics which effectively pinned down more than 15,000 Japanese troops in East Timor. This book recounts the bloodless Australian landing in Portuguese East Timor, military actions against the Japanese, and eventual evacuation to Darwin. Central to Campbell's experience is the ambush and execution of a section from his platoon, shortly after the Japanese landing in Dili. In 1973, Archie returned to East Timor to meet Barana, the East Timorese man who, as a 12-year-old boy, helped and protected him during the campaign. Each Timorese boy who helped a commando and guarded him while he slept, was called that commando's Criado. Ken White accompanied Archie in the 1973 journey to East Timor to find Barana. He has used excerpts from Archie's own diary to tell the heart-warming story of their first meeting after 30 years. Historical background on the centuries of Portuguese rule, the Japanese occupation and the more recent Indonworld war ii, independent companies, australian commando, timor

The Bow Tie is a type of men's necktie that consists of a ribbon of fabric tied around the collar in a symmetrical manner such that the two opposite ends form loops. Ready-tied Bow ties are available, in which the distinctive Bow is sewn and a band goes around the neck and clips to secure. Bow ties may be made of any fabric material, but most are made from silk, polyester, cotton, or a mixture of fabrics. The Bow tie originated among Croatian mercenaries during the Prussian wars of the 17th century when the Croat mercenaries used a scarf around the neck to hold together the opening of their shirts. This was soon adopted under the name cravat, derived from the French for "Croat", by the upper classes in France, then a leader in fashion, and flourished in the 18th and 19th centuries. The most traditional Bow ties are usually of a fixed length and are made for a specific size neck. Sizes can vary between approximately 14 and 20 inches just like a comparable shirt collar. Fixed-length Bow ties are preferred when worn with the most formal wing-collar shirts, so as not to expose the buckle or clasp of an adjustable Bow tie. Bow ties are worn by magicians, country doctors, paediatricians, lawyers, professors musicians and by people hoping to look like the above and clowns also wear oversized ones. In the 1980’s fashionable and professional women wore a type of Bow tie. Most men only wear Bow ties with formal dress. A man's pre-tied black bow tie with a metal spring clip to attach to the shirt collar. The 2 spring clips have 'alligator teeth' to grip the collaron spring clip MADE IN AUSTRALIA SPRINGmenswear, clothing, bow ties, cheltenham, moorabbin, bentleigh, early settlers, pioneers, market gardeners, male neckwear

The Bow Tie is a type of men's necktie that consists of a ribbon of fabric tied around the collar in a symmetrical manner such that the two opposite ends form loops. Ready-tied Bow ties are available, in which the distinctive Bow is sewn and a band goes around the neck and clips to secure. Bow ties may be made of any fabric material, but most are made from silk, polyester, cotton, or a mixture of fabrics. The Bow tie originated among Croatian mercenaries during the Prussian wars of the 17th century when the Croat mercenaries used a scarf around the neck to hold together the opening of their shirts. This was soon adopted under the name cravat, derived from the French for "Croat", by the upper classes in France, then a leader in fashion, and flourished in the 18th and 19th centuries. The most traditional Bow ties are usually of a fixed length and are made for a specific size neck. Sizes can vary between approximately 14 and 20 inches just like a comparable shirt collar. Fixed-length Bow ties are preferred when worn with the most formal wing-collar shirts, so as not to expose the buckle or clasp of an adjustable Bow tie. Bow ties are worn by magicians, country doctors, paediatricians, lawyers, professors musicians and by people hoping to look like the above and clowns also wear oversized ones. In the 1980’s fashionable and professional women wore a type of Bow tie. Most men only wear Bow ties with formal dress. A pre tied white Bow tie sewn on a neckband with an elastic clip fastenermenswear, clothing, bow ties, cheltenham, moorabbin, bentleigh, early settlers, pioneers, market gardeners, male neckwear